I haven't seen every movie from this past year that I intend to see -- for instance, I've yet to see Sam Mendes' World War I film 1917, which could very well make this list -- but for now I can only go off what I've seen, and I'll admit to having seen a lot this year.
These are my favorites -- they may not be the best movies (some of my choices are very divisive) but these are the ten movies I enjoyed the most. And before I get started, I wanted to say a word or two about The Rise of Skywalker.
It just missed the cut of my list. I can't defend it as a great film -- its flaws are pretty self evident to both Star Wars fans and non-Star Wars fans alike, and yet, it was chockfull of moments I loved and yes, moments I've always wanted to see (call it fan service if you like, I'm a fan). I haven't been following the debate I am sure is going on about the merits of that movie, but for now I am just going to continue thinking of it fondly and will put in a separate category from the rest.
There will be more to say about that movie later. But without further ado, here's my 2019 faves:
10) Midsommar - Director Ari Aster is just one of the rising star filmmakers of the last few years (his debut was the haunting Hereditary) to avoid having a sophomore slump. Here he makes a bright, shiny scary movie set with a bizarre cult-like community in Sweden. The first half of the movie is darkly funny, as a stellar Florence Pugh (who may be the breakout star of the year) tries mightily to keep a crumbling romantic relationship afloat amid her own unspeakable tragedy. Once the film leaves the states, it becomes a master class in creepy dread. Alternately shocking and fascinating, this is a movie I will never forget and will think about often.
9) Joker - Liking this movie kind of means having to defend it. I think it's simply not a movie for everyone, which is ironic since it is one of the highest grossing films of the year (which is surprising in its own right). It's a relentlessly bleak look at the chaos that can ensue when the social safety net disappears (Michael Moore has the right take on it). This is not a pro-incel movie and it's not suggesting we should revere Joaquin Phoenix's tragic take on the Joker. It's an admittedly not very subtle shock to the system of a movie, its meant to scare us and provoke us. And it, as well as Phoenix's committed, unforgettable performance, did both for me.
8) Little Women - I didn't know what to expect from Greta Gerwig's version of the classic Louisa May Alcott's beloved novel having never read it or seen any previous adaptations. But what it turned out to be is a deeply moving, romantic, funny, feminist and even thrilling interpretation of a work that could have been stuffy and cliched. Gerwig has made a grand Hollywood epic with incredible production values and a genuinely novel non-linear approach which rises above being a gimmick to serve a profound running commentary about itself. I've never seen a period movie like it and it had me bawling like a baby.
7) Knives Out - One of the most entertaining movies of the year and sweet revenge for writer-director Rian Johnson after he was raked over the coals by toxic fanboys for his attempt to do something new with the Star Wars franchise. Here he updates the star-studded who-done-it genre to make a incredibly clever, politically relevant and very funny crowd-pleasing thriller. Daniel Craig is having a ball. So are Chris Evans and Don Johnson and Jamie Lee Curtis and Michael Shannon -- you get the idea. And the breakout star -- Ana de Armas -- gets a real opportunity to shine in a role that could have been a dud, but she makes it dynamite.
6) Uncut Gems - Adam Sandler somewhat improbably gives one of the greatest performances of the year (and the best in his career) as a pathetic gambling addict in the Sadfie Brothers' relentless and riveting crime film. It's both fiercely funny and frightening at nearly every turn, with non-actors like Kevin Garnett and The Weeknd mixing it up and coming across totally credibly. A profane, rough New York movie that solidifies the Safdies as major directors to be reckoned with (coming on the heels of Good Time). Without spoiling it -- this is one of those movies that ends on the perfect note and will stick with you long after you leave the theater.
5) Hustlers - Yes, Jennifer Lopez is a revelation as a veteran stripper who helps hatch a scheme to bilk Wall Street jerks out of money -- but the movie is terrific too. I've never seen a 'women's picture' that is never saddled with a forced romance or any male character of consequence. Amid the mayhem and comedy (and yes, very sexy dancing) this is a movie first and foremost about the relationships between Lopez, the movie's lead Constance Wu, and the women in their lives. When the film ends you're struck with how much you've grown to know these people and care for them. Plus, it's a killer time capsule of the financial crisis. A time we never want to relive but is intriguing to visit.
4) Booksmart - The most criminally under-seen movie of the year -- an uproariously funny comedy that is a fantastic showcase for its stars Beanie Feldstein and Kaitlyn Dever and its first-time director, actress Olivia Wilde. It's so much more than a coming-of-age comedy -- it's a deeply touching movie about friendship, about burgeoning sexuality and about living in the moment. I have no doubt it'll find its audience and a fanbase over the next several years, its laughs have staying power. In fact, the movie is so unassailably good that you can almost forgive Wilde's problematic performance in Richard Jewell for it.
3) Once Upon a Time in Hollywood - Quentin Tarantino's most personal and in a strange way -- human movie. Yes, it's full of all his indulgences -- ultraviolence and ladies' feet. But it's also a spot on period movie and love letter about the idyllic late 1960s in Hollywood, which were so full of promise and generational change. Leonardo DiCaprio and Brad Pitt are perfect together and apart, in roles that manage to show new shades of the star personas I never thought existed. If Tarantino really does retire after his next movie (which he keeps threatening to do), this may go down as his masterpiece. He's always been a movie lover at heart and this is his most movie movie to date.
2) Us - A brilliant horror film that was unfairly downgraded in comparison to Jordan Peele's debut Get Out. This is actually an even more sophisticated film. It's a complex treatise on class and full of mystery and striking imagery. It's a movie I have watched and obsessed over repeatedly since I first saw it and I find something new to appreciate every time I do. One thing that can't be missed is Lupita Nyong'o's Oscar worthy dual role -- the best of her career so far -- which dominates the movie and helps make it the tantalizing treat it is. It's scarier than Get Out, but it's also got more world building and symbolism. I can't wait to see what Peele does next.
1) The Irishman - Martin Scorsese has floated the idea that this may be the last film of his storied, consistently great directing career -- and if it is, it'd be the ideal ending. It's his last word on the genre he is best known for modernizing -- the gangster movie. But instead of going for flashy glory, he spends nearly four hours showing you the tragic underbelly of being a cold hearted macho man and I loved every second of it. He got career capping performances out of DeNiro and Pacino, both of whom have been slumming it for years, and gave us the gift of Joe Pesci's quiet, compelling performance. "It's what it is" -- It's a bonafide masterpiece, and one that hopefully people will keep revisiting on Netflix for years to come
Honorable Mentions (in no particular order) : The Rise of Skywalker, Queen & Slim, The Beach Bum, Amazing Grace, Jojo Rabbit, John Wick 3, Avengers: Endgame, The Lighthouse, The Farewell, My Name Is Dolemite, Ad Astra, Toy Story 4, The Last Black Man in San Francisco, Doctor Sleep, Lorena, The Art of Self-Defense, Spider-Man: Far From Home, The Report, Climax, and Beyonce's Homecoming
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